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Just as a side note: Carpenter und Morricone didn't actually collaborate; it was just that Carpenter composed a few synthesizer cues (for the opening title and two short sequences) for THE THING independently of Morricone's contribution.
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Yeah, I just wanted to point out that in comparison to say, Don Davis and Juno Reactor, Carpenter's musical contribution for THE THING was comparatively insignificant, since Morricone contributed not just the orchestral, but also most of the electronic music in the movie; Carpenter just did a few "filler" synth additions.
Another interesting (and perhaps more famous) collaboration was between Ryuichi Sakamoto and David Byrne (and Cong Su) for THE LAST EMPEROR, with Sakamoto focusing on the orchestral cues and Byrne's was more electronic/sampled.
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Posted: |
Feb 24, 2024 - 2:28 AM
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By: |
Thor
(Member)
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Some good suggestions in this thread, but we're starting to drain this particular sub genre, I think.
I thought about THE GOLDEN CHILD for a moment, but that doesn't really qualify, even if some of Barry's unused music may have ended up in the film, among the synth music by Colombier. I don't remember the nuts and bolts of that production.
And then we could go down on track level, of course, with things like The Propellerheads' work on "Backseat Driver" in David Arnold's TOMORROW NEVER DIES. But that breaks my own rule about not including invididual tracks.
Or more esoteric background people, like Joseph Williams providing the electronic backdrops on his father's A.I., but again not really what I had in mind.
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Posted: |
Feb 24, 2024 - 4:03 AM
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By: |
Thor
(Member)
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There was no collaboration on THE GOLDEN CHILD.
Barry's music was replaced by Colombier's but certain JB cues stayed in the film.
Yeah. Again, "collaboration" in the headline is a bit misleading, since I count both proper collaborations and scores put together by two different composers (one acoustic, one synth) working independently. But THE GOLDEN CHILD wouldn't count in any case, since they were never INTENDED to co-exist from the get-go. It just ended up that way because two scores were composed for the film.
I am confused here, as electroacoustic is a well defined genre of music (https://en.wikipedia.org/wiki/Electroacoustic_music) but none of the scores discussed here fit that genre. I am therefore assuming that electro-acoustic with "hyphen" means something completely different!
Yes, the hyphen is crucial, to delineate it from the established genre. In this case, it means a combination of acoustic and electronic elements, composed by two different entities.
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